Music Production and Sound Engineering (Fully Assessed and Certificated)
Course designer
David Mellor
David Mellor, Audio Educator since 1986

David Mellor is the founder and Course Director of Audio Masterclass currently residing in the beautiful countryside of Oxfordshire in the United Kingdom. He has worked in audio education since 1986 in hands-on training, lectures and online. Mr. Mellor holds the degree of B.Mus (Tonmeister) from the University of Surrey where he studied music, piano performance, acoustics, electronics, electro-acoustics and recording.

Live Sound and Recording Engineer
Mr. Mellor worked as theatre sound engineer at London's Royal Opera House, with activities including sound design, front-of-house operation, stage monitoring and electronic design satisfying the likes of Luciano Pavarotti, Placido Domingo, Dame Kiri Te Kanawa and Karlheinz Stockhausen. Mr. Mellor toured with the Royal Opera Company to the Dorothy Chandler Pavilion, Los Angeles, USA; the Odeon of Herod Atticus, Athens, Greece; the Sejong Center, Seoul, South Korea; the Bunka Kaikan, Tokyo, Japan.

Musician and Composer
Since 1985 Mr. Mellor has had more than 1000 works published in the field of production music, including the Chappell and Carlin music libraries (now combined into Universal Publishing Production Music) and his own music library for which he has produced seventeen compact discs. Notable uses of his music include the BBC's Horizon, Fahrenheit 911, and The Oprah Winfrey Show.

Writer and Educator
Mr. Mellor has been actively involved in Audio Education since 1986, teaching students of City of Westminster College and Westminster University, and also returning to lecture at Surrey University. He has also written for magazines including Sound on Sound, Audio Media, Studio Sound, Sound & Video Contractor. He has also written four books on audio and video technology. Mr. Mellor now specializes in online audio education and has been Course Director of Audio Masterclass since 2001.

Music Production and Sound Engineering (Fully Assessed and Certificated)

Full and detailed course covering all aspects of home recording studio operation

COURSE DESCRIPTION

The Audio Masterclass Music Production and Sound Engineering Course starts with studio setup and a basic recording of speech. It continues through microphone selection and placement, through equalization, compression and effects, all the way to final mix and master. The course concludes with making an industry-standard CD or DVD showreel to promote your professional career.

Flexible Learning
You can study the Audio Masterclass Music Production and Sound Engineering Course online or by downloading all of the course materials to your own computer. The course can be completed in 12 weeks, or you can spread it out over up to two years if you wish. You can work on the course at any time you choose, and take breaks whenever you like.

Audio Examples Library
The Audio Masterclass Music Production and Sound Engineering Course centers around the 1000+ file Audio Examples Library. Module by module, we will ask you to load these files into your digital audio workstation and listen carefully on your studio monitors, or monitoring-grade headphones. The course will show you exactly what you should be listening out for. Stage-by-stage the course will tune in your ears to the sounds of pro audio, all the way from basic sine waves to full mixes and masters.

Practical Assignments Projects
The Audio Masterclass Music Production and Sound Engineering Course is all about doing audio, in your own home recording studio. You can't learn just from reading, or watching videos. You have to get involved and make recordings. Each of the modules of the course has a Practical Assignment Project in which we will ask you to carry out elements of audio skills, from basic to advanced. We'll show you what to do, then ask you to do it. We're looking for precision, and no faults. But the projects also leave room for you to develop your full range of skills.

Course Manual
The course manual contains all of the technical knowledge you will need as a recording engineer or music producer. We've put in everything you need, and we have included special sections with more in-depth knowledge, if that's what you want. But we won't overload you with information that a working professional wouldn't need or want. The Course Manual is extensive, and at the same time concise and to-the-point. You'll find yourself dipping into it every day as you work on the practical assignments.

Multimedia Content
Your course will include multimedia enhancement content consisting of audio and video material made by Audio Masterclass at London's Abbey Road studios, famous for being where The Beatles recorded. You can load the audio material, recorded in 24-bit/96-kHz 'Studio Master' quality, into your digital audio workstation for precise auditioning. The accompanying videos show exactly how the recordings were made.

Showreel
The Audio Masterclass Music Production and Sound Engineering Course leads to the creation of your own industry-standard Showreel. Everyone who works in the entertainment or media industry and has an ambition to get ahead keeps a showreel of their best work. When they want to move on in their career, they can use it to demonstrate very effectively what they can do. When you first start out, you won't have any professional material to put in your showreel. But we'll help you put together the very best showreel you can and make a great impression on any industry professional you choose to contact.

Assessment
This course is assessed by Audio Masterclass on your practical assignment work, submitted online. You will receive grading on your work and detailed advice on how to improve. Resubmissions are accepted.

Certification
While it is true that no certificate can guarantee a job or freelance success in audio, you'll want something that rewards your achievement when you complete the course successfully. When you have completed the course successfully we will send you your Audio Masterclass certificate anywhere in the world by regular mail.

What are the requirements for this course?

  • Up-to-date computer with a broadband Internet connection, CD writer and digital audio workstation software
  • Microphone equivalent to or better than the Shure SM57 (two microphones are preferred in order to be able to make stereo recordings)
  • Audio interface
  • Loudspeaker or headphone monitoring
  • The existing ability to record, edit and mix, and to bounce to a stereo audio file
  • The existing ability to sing or play a musical instrument of any kind, or have a singer or musician with whom to practise your recording skills

What will I get with this course?

  • Over 1000 audio example files
  • 500-page+ course manual
  • 300 quiz questions
  • Answers to quiz questions
  • 12 practical assignment projects
  • Notes and audio examples on the practical assignment projects
  • Showreel guidance
  • Bonus multimedia and video content
  • Option to submit your showreel to achieve an Audio Masterclass certificate
  • Learn how to record speech, singing and instruments of all kinds
  • Learn how to record choirs and groups of instruments
  • Select and position microphones for mono and stereo
  • Select and operate microphone preamplifiers
  • Apply equalization, compression, reverb and effects
  • Mix and master your recordings
  • Achieve the ability to satisfy demanding industry clients
  • Assessment and grading of your practical assignment work
  • Audio Masterclass certificate on successful completion

Who should take this course?

  • Any home recording studio owner who wants to achieve a professional standard in their work
  • Composers who wish to work with modern technology
  • Songwriters who want to record their own songs and backing tracks
  • Anyone with an ambition to enter the music industry as a producer or engineer
  • Anyone with an ambition to work in the live sound or broadcast industry
  • If you want to be able to record, mix and master to a standard equal to that of a commercial release

SYLLABUS

SECTION 1: ANALOG & DIGITAL AUDIO
2
The Nature of Sound
TEXT
3
Frequency
TEXT
4
The Decibel
TEXT
5
Acoustics
TEXT
6
The Inverse Square Law
TEXT
7
Standing Waves
TEXT
8
Acoustic Treatment
TEXT
9
Sound Insulation
TEXT
10
Audio Electronics
TEXT
11
Components
TEXT
12
Measurements
TEXT
13
Digital Audio
TEXT
14
Analog to Digital Conversion
TEXT
15
Latency
TEXT
16
Check Questions
QUIZ
17
Sine Waves
AUDIO
18
Square Waves
AUDIO
19
Noise
AUDIO
20
Phase
AUDIO
21
Clipping
AUDIO
22
Frequency Response
AUDIO
23
Bit Depth
AUDIO
24
Analog Recording
AUDIO
25
Speech Recording
ASSIGNMENT
26
BONUS MULTIMEDIA CONTENT: Male Vocal Microphone Test
VIDEO
SECTION 2: MICROPHONES
28
Construction
TEXT
29
Directional Characteristics
TEXT
30
Special Types
TEXT
31
Accessories
TEXT
32
Use of Microphones
TEXT
33
Speech
TEXT
34
Music Recording
TEXT
35
Broadcast
TEXT
36
Public Address
TEXT
37
Location Recording
TEXT
38
Music Venue
TEXT
39
Theater
TEXT
40
Stereo Techniques
TEXT
41
Piano
TEXT
42
String and Wind Instruments
TEXT
43
Acoustic Guitar
TEXT
44
Electric Instruments
TEXT
45
Drums
TEXT
46
Check Questions
QUIZ
47
Speech Tests
AUDIO
48
Singing Tests
AUDIO
49
Vocal Comparison Tests
AUDIO
50
Modeling Tests
AUDIO
51
Microphone Comparison Test
ASSIGNMENT
52
BONUS MULTIMEDIA CONTENT: Female Vocal Microphone Test
VIDEO
SECTION 3: MICROPHONE PREAMPLIFIERS
54
Introduction
TEXT
55
Vacuum-Tube Preamplifiers
TEXT
56
Transistor Preamplifiers
TEXT
57
Transformers
TEXT
58
Phantom Power
TEXT
59
Gain
TEXT
60
Pad
TEXT
61
Filter
TEXT
62
Phase
TEXT
63
Operation
TEXT
64
Check Questions
QUIZ
65
Preamp Test 1
AUDIO
66
Preamp Test 2
AUDIO
67
Preamp Warmth Demo
AUDIO
68
Stereo Microphone Configurations
ASSIGNMENT
69
BONUS MULTIMEDIA CONTENT: Four Exotic Mics on Guitar
VIDEO
SECTION 4: EQUALIZATION
71
What Is Equalization For?
TEXT
72
Frequency & Level
TEXT
73
Level & Decibels
TEXT
74
Frequency Response
TEXT
75
Filters
TEXT
76
Passive EQ and Tone Controls
TEXT
77
Mixing Console EQ
TEXT
78
EQ In/Out
TEXT
79
Graphic EQ
TEXT
80
Corrective Equalization
TEXT
81
Creative Equalization
TEXT
82
Cut vs. Boost
TEXT
83
Equalizing the Mix
TEXT
84
Equalization for Live Sound
TEXT
85
Check Questions
QUIZ
86
EQ & Filters
AUDIO
87
Bass Guitar
AUDIO
88
Acoustic Guitar
AUDIO
89
Electric Guitar
AUDIO
90
Drums
AUDIO
91
Female Vocal
AUDIO
92
Male Vocal
AUDIO
93
Mix
AUDIO
94
EQ Ear Training
ASSIGNMENT
95
BONUS MULTIMEDIA CONTENT: The Joe Clancy Drum Recordings at Abbey Road Studio 3
VIDEO
SECTION 5: COMPRESSION
97
What Is Compression For?
TEXT
98
Connecting the Compressor (Hardware)
TEXT
99
Connecting the Compressor (Software)
TEXT
100
What the Compressor Does
TEXT
101
Compression Ratio
TEXT
102
Gain Reduction
TEXT
103
Setting the Threshold Control
TEXT
104
Fixed-Threshold Compressors
TEXT
105
Setting the Gain Make-Up
TEXT
106
Setting the Release Control
TEXT
107
Setting the Attack Control
TEXT
108
Stereo Link Button
TEXT
109
Noise and the Compressor
TEXT
110
Breathing and Pumping
TEXT
111
Use of the Side Chain
TEXT
112
De-Essing
TEXT
113
Methods of Compression
TEXT
114
Diode Bridge
TEXT
115
Variable-Mu
TEXT
116
FET
TEXT
117
Optical
TEXT
118
VCA
TEXT
119
Digital
TEXT
120
Check Questions
QUIZ
121
Female Vocal
AUDIO
122
Male Vocal
AUDIO
123
Bass Guitar
AUDIO
124
Acoustic Guitar
AUDIO
125
Electric Guitar
AUDIO
126
Kick and Snare Drums
AUDIO
127
Full Drum Set
AUDIO
128
Compressing the Mix
AUDIO
129
Parallel Compression
AUDIO
130
Demonstrations of Compression
ASSIGNMENT
131
BONUS MULTIMEDIA CONTENT: Four Compressors Compared on Female Vocal
VIDEO
SECTION 6: RECORDING SOFTWARE
133
Background to Recording Technology
TEXT
134
Inputs, Tracks & Outputs
TEXT
135
Session Files
TEXT
136
Disk Media
TEXT
137
Storage & Archiving
TEXT
138
Operation
TEXT
139
Virtual Tracks
TEXT
140
Editing
TEXT
141
Slipping, Shuffling & Spotting
TEXT
142
Fades & Crossfades
TEXT
143
Bouncing
TEXT
144
Audio File Library
TEXT
145
Plug-Ins and Latency
TEXT
146
Check Questions
QUIZ
147
Fades & Crossfades
AUDIO
148
Editing
AUDIO
149
Automation
AUDIO
150
Retiming
AUDIO
151
Creation of a Drum Track From Sampled Sources
ASSIGNMENT
152
BONUS MULTIMEDIA CONTENT: Microphone Polar Patterns and Stereo Configurations
VIDEO
SECTION 7: EFFECTS & PLUG-INS
154
Introduction to Effects & Plug-Ins
TEXT
155
Insert and Buss Effects
TEXT
156
Delay & Reverb
TEXT
157
Calculation of Delay Times
TEXT
158
Delay in Live Sound
TEXT
159
Background to Artificial Reverberation
TEXT
160
Reverberation Chamber
TEXT
161
Assisted Resonance
TEXT
162
Plate Reverb
TEXT
163
Spring Reverb
TEXT
164
Digital Reverb
TEXT
165
Reverberation Parameters
TEXT
166
Pre-Delay
TEXT
167
Reverberation Time
TEXT
168
High-Frequency Damping
TEXT
169
Distortion
TEXT
170
Harmonic Distortion
TEXT
171
Intermodulation Distortion
TEXT
172
Clipping
TEXT
173
Time-Domain Effects
TEXT
174
Phasing, Flanging & Chorusing
TEXT
175
The Rotary Loudspeaker Cabinet
TEXT
176
Pitch Changing
TEXT
177
Pitch Correction
TEXT
178
Harmonic Generation
TEXT
179
Check Questions
QUIZ
180
Examples of Convolution Reverb
AUDIO
181
Comparison of Reverb Plug-Ins
AUDIO
182
Distortion
AUDIO
183
Auto Pan
AUDIO
184
Chorus
AUDIO
185
Filter Sweep
AUDIO
186
Flanging
AUDIO
187
Phasing
AUDIO
188
Pitch Changing
AUDIO
189
Pitch Correction
AUDIO
190
Harmonic Generation
AUDIO
191
Creation of Artificial Reverb Using a Natural Reverberation Chamber
ASSIGNMENT
192
BONUS MULTIMEDIA CONTENT: Piano Recording Techniques
VIDEO
SECTION 8: SYNTHESIS & SAMPLING
194
Subtractive Synthesis
TEXT
195
Waveforms
TEXT
196
Filter
TEXT
197
Voltage Control
TEXT
198
Voltage-Controlled Amplifier
TEXT
199
Envelope Generator
TEXT
200
Modulation
TEXT
201
Oscillator Synchronization
TEXT
202
Noise Generator
TEXT
203
Pulse-Width Modulation
TEXT
204
Oscillating Filter
TEXT
205
Sample & Hold
TEXT
206
Ring Modulator
TEXT
207
Portamento
TEXT
208
External Input
TEXT
209
Additive Synthesis
TEXT
210
FM Synthesis
TEXT
211
Wavetable Synthesis
TEXT
212
Physical Modeling Synthesis
TEXT
213
Sampling
TEXT
214
The Process of Sampling
TEXT
215
Sampler Functions
TEXT
216
Sampling Rate
TEXT
217
Sampling Duration
TEXT
218
Stereo Sampling
TEXT
219
Trim & Extract
TEXT
220
Normalization
TEXT
221
Looping
TEXT
222
Reverse
TEXT
223
Time Stretch
TEXT
224
Making Programs
TEXT
225
Keygroups
TEXT
226
Layers
TEXT
227
Velocity Zones
TEXT
228
Mute Groups
TEXT
229
MIDI
TEXT
230
Check Questions
QUIZ
231
Waveform Demonstrations
AUDIO
232
Filter Demonstrations
AUDIO
233
Envelope Generator Demonstrations
AUDIO
234
Low-Frequency Oscillator Demonstrations
AUDIO
235
Examples of Synthesized Sounds
AUDIO
236
Creation of a Piece of Music or Soundscape From Basic Sampled Sources
ASSIGNMENT
237
BONUS MULTIMEDIA CONTENT: Acoustic Guitar Recording Techniques
VIDEO
SECTION 9: RECORDING TECHNIQUES
239
Recording a Band
TEXT
240
Basic Tracks
TEXT
241
How Many Takes?
TEXT
242
Guide Vocal
TEXT
243
Overdubbing
TEXT
244
Instrument Miking
TEXT
245
Drums
TEXT
246
Setting Up The Drums
TEXT
247
Kick Drum
TEXT
248
Snare Drum
TEXT
249
Double Miking the Snare Drum
TEXT
250
Toms
TEXT
251
Overheads and Hihat
TEXT
252
Piano
TEXT
253
Acoustic Guitar
TEXT
254
Electric Guitar
TEXT
255
Direct Injection (DI)
TEXT
256
Recording a Live Band
TEXT
257
Classical & Orchestral Recording
TEXT
258
Classical Music
TEXT
259
Film Music
TEXT
260
The Orchestra in Popular Music
TEXT
261
The Instruments of Orchestral Music
TEXT
262
Strings
TEXT
263
Woodwind
TEXT
264
Brass
TEXT
265
Percussion and Other Instruments
TEXT
266
The Voice in Classical Music
TEXT
267
Instrumental Groupings in Classical Music
TEXT
268
Forms of Classical Music
TEXT
269
Classical Music Performance
TEXT
270
Classical Music Personnel
TEXT
271
The Classical Music Recording Session
TEXT
272
Check Questions
QUIZ
273
Acoustic Guitar
AUDIO
274
Electric Guitar
AUDIO
275
Bass Guitar
AUDIO
276
Drums
AUDIO
277
Snare Drum
AUDIO
278
Kick Drum
AUDIO
279
Overheads & Room Mics
AUDIO
280
Vocals
AUDIO
281
Background Vocals
AUDIO
282
Producers' Mixes
AUDIO
283
Recording An Instrument Af Your Choice To Fit An Existing Recording
ASSIGNMENT
284
BONUS MULTIMEDIA CONTENT: Electric Guitar Recording Techniques
VIDEO
SECTION 10: MIXING
286
Mixing Console Architecture
TEXT
287
Microphone & Line Input
TEXT
288
Insert Point
TEXT
289
Equalizer
TEXT
290
Auxiliary Sends
TEXT
291
Dynamics
TEXT
292
Small Fader
TEXT
293
Solo/PFL
TEXT
294
Large Fader
TEXT
295
Signal Paths
TEXT
296
Console Center Section
TEXT
297
Main Outputs
TEXT
298
Monitoring
TEXT
299
Auxiliary Returns
TEXT
300
Metering
TEXT
301
Group Faders
TEXT
302
Communications
TEXT
303
The Process of Mixing
TEXT
304
Monitor Mix
TEXT
305
How To Get A Good Mix
TEXT
306
Stereo Formats
TEXT
307
Automated Mixing
TEXT
308
Moving Faders
TEXT
309
VCA
TEXT
310
Mute Automation
TEXT
311
Mix Engineer Comments
TEXT
312
Check Questions
QUIZ
313
Mix Demonstration: It Would Be So Easy
AUDIO
314
Mix Demonstration: Pretending
AUDIO
315
Mix Demonstration: All Or Nothing
AUDIO
316
Full Mix Of The Multirack Recording Of All Or Nothing
ASSIGNMENT
317
BONUS MULTIMEDIA CONTENT: The Nicola Dines Microphone and Preamplifier Test at Abbey Road Studio 2
VIDEO
SECTION 11: MASTERING
319
Introduction To Mastering
TEXT
320
Pre-Mastering
TEXT
321
Fault Correction
TEXT
322
Mastering For Vinyl
TEXT
323
Noise In Vinyl Mastering
TEXT
324
The Acceleration Limiter
TEXT
325
Mistracking
TEXT
326
Side Duration
TEXT
327
Stylus-To-Groove Speed
TEXT
328
The Role Of The Vinyl Mastering Engineer
TEXT
329
Mastering For CD
TEXT
330
Mastering For Download
TEXT
331
Artistic Aspects Of Mastering
TEXT
332
Subjective Loudness
TEXT
333
Compression
TEXT
334
Clipping
TEXT
335
Multi-Band Compression
TEXT
336
A Mastering Engineer's View
TEXT
337
Mastering For Acoustic Music
TEXT
338
Check Questions
QUIZ
339
Mastering Step-By-Step
AUDIO
340
Normalization
AUDIO
341
EQ
AUDIO
342
Compression
AUDIO
343
Limiting
AUDIO
344
Clipping
AUDIO
345
Soft Clipping
AUDIO
346
The Mastering (Brickwall) Limiter
AUDIO
347
Multi-Band Compression
AUDIO
348
Mastering A Professionally Mixed Recording
ASSIGNMENT
349
BONUS MULTIMEDIA CONTENT: The Anna Neale Preamp Test at Abbey Road Studio 3
VIDEO
SECTION 12: MARKETING YOUR MUSIC AND RECORDING SERVICES
351
Ways To Earn Money From Music And Recording
TEXT
352
How to become a recording artist, signed to a major record label (difficult)
TEXT
353
How to become a recording artist selling your own products
TEXT
354
How to become a songwriter
TEXT
355
How to become a composer
TEXT
356
How to become a professional musician
TEXT
357
How to become an arranger
TEXT
358
Operating a commercial recording studio for hire
TEXT
359
Operating a location recording service
TEXT
360
How to become a producer
TEXT
361
Producer/engineer/musician
TEXT
362
How to become an engineer
TEXT
363
Check Questions
QUIZ
364
Listening Skills Test
AUDIO
365
White Noise
AUDIO
366
Filtered White Noise
AUDIO
367
Contaminated White Noise
AUDIO
368
Fine Pitch Discrimination
AUDIO
369
Out Of Phase
AUDIO
370
Audio Faults
AUDIO
371
Creation Of A CD Or DVD Showreel
ASSIGNMENT
372
BONUS MULTIMEDIA CONTENT: The Charlotte Roel Microphone Test at Abbey Road Studio 3
VIDEO
COURSE FEE: $777
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